String Quartet-A collection of 12 traditional carols for easy string quartet (Grade 2) from master arranger Bruce Healey. This group of delightful arrangements will become your most valuable resource of holiday music for years to come. Eachcarol is given a fresh creative treatment yet is expertly arranged with younger players in mind. Songs include: Away in a Manger ? We Wish You a Merry Christmas ? Deck the Halls ? Ding Dong Merrily on High? God Rest Ye Merry Gentlemen ? Greensleeves ? O Come All Ye Faithful ? Chanukah Oy Chanukah ? O Holy Night ? Pat-A-Pan ? Silent Night ? Three Holiday Songs (Medley including The DreydlSong Jingle Bells and Joy to the World).Also available for:00841986 Solo Violin and Piano 00842194 Solo Viola and Piano 00842195 Solo Cello and Piano String Orchestra:? 04490308 Conductor Score ? 04490309 Violin 1 part ? 04490310 Violin 2 part ? 04490311 Violin 3 part (Viola T.C.) ? 04490312 Viola part ? 04490313Cello part ? 04490314 String Bass part ? 04490315 Piano ? 04490316 Opt. Harp ? 04490317 Opt. Percussion

Autorisierte Erstausgabe-The score and Parts for these two superb Movemets for String Orchestra by Sergei Rachmaninov. Includes the parts for two Violins Viola and Cello.

De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L?instrumentation est toujours la même : Violons 1 & 2 Alto (ou Violon 3) Violoncelle Contrebasse (ou Violoncelle 2) et Piano. Avec CD.Carnival of Strings met en évidence quatre délicieuses danses dans un charmant arrangement pour Quatuor à Cordes.Demo Tracks:1. Big Bens March 2. Coconut Calypso 3. Waltz Along 4. Boppin Along

32 Quartets That Can Be Played by Any Combination of String Instruments-Chamber music is an essential part of learning to play an instrument and these versatile quartets are written so that they can be performed by any combination of four string instruments. Arranged by prominent string pedagogue Doris Gazda these pieces will sound full and satisfying with only four players all the way up to a full string orchestra. The selection of music in this collection covers a wide variety of musical styles that will provide hours of enjoyment and performance options. Progressively organized by level of difficulty as the performers advance in their skills these quartets are a welcome addition to the repertoire of all string players.

The composer made this arrangement of the Third String Quartet for string orchestra in March 2003. The first performance was given by the Eos Orchestra New York conducted by Ken Selden in the Concert Hall Ethical CulturalSociety New York City on 24 April 2003.Quoting composer: In the summer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responsesof some of the inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of KhorenMeykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no lessprofound experience of witnessing the images of the Romanian revolution on television during the latter part of December 1989.Just as the structure of my Third String Quartet (1990) may connect it with the First so they alsoshare a debt to Thurston Dart (my professor at King’s College London between 1961 and 1965). It was Dart who had the inspiration to send me to Romania in 1965 ostensibly to study folk music. The volumes of transcriptions that Ibrought back with me had remained unopened until with this proposed ‘celebratory’ string quartet (though at the time it was difficult to know quite what to celebrate in postrevolutionary Romania) an occasion arose where I coulduse this material in what seemed to me was a non-exploitative manner. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would besuperimposed quite often stretched into new intervallic shapes through the demands of the completely pre-formed harmonic structure.